Nadja Salerno-Sonnenberg, Sergio and Odair Assad

Aside from the odd Ravi Shankar project, classical and world music fusions seldom seem to work. Here's one that does. Violinist Nadja Salerno-Sonnenberg teams up with Brazilian guitarists Sergio and Odair Assad on a set heavily influenced by the gypsy music of Europe and the Middle East. Written mostly by Sergio Assad, these are lively compositions, with dizzying guitar parts punctuated by Salerno-Sonnenberg's piercing violin to great effect. "Andalucia" is a stunning display of the trio's interplay; "The Chase" will appeal to flamenco lovers; and "Gypsy Songs" is a medley of traditional Hungarian folk tunes. On Django Reinhardt's "Nuages," the tempo unfortunately plods along, but "Somogy's Dream"--based on the gypsy music of Transylvania--is a glorious closer. If you like the guitar and world music, or were enthralled by Joshua Bell's Short Trip Home classical fusion disc, you'll love this. --Jason Verlinde Amazon.com

A wonderful CD

I listen to this CD frequently. All of the numbers are super and the interaction of the guitars and violin are glorious. January 3, 2004

A luminous, brilliant performance

Sergio Assad's clever improvisations on melodies ranging from "Dark Eyes" and Django Reinhardt's "Nuages" to traditional Russian, Slavic and Turkish melodies are beautifully rendered by this string trio. Percussion is added to some tracks, and the phantomic voice of either Nadja or another female vocalist (sister Badi Assad?) is present, nearly in the background, of one haunting song.

The complaints in some reviews here, such as grousing over a lack of discernible melodies, are largely unfounded.

Of course we don't get "Greensleeves" or "Danny Boy" or any familiar, sentimental favorites. And, of course, these tracks are not for the fans of Jim Nabors or Montovani.

But lush, romantic, and witty, dashing tunes abound. A degree of musical sophistication and experience as a listener helps. But anyone who can listen with pleasure to Keith Jarrett and Chick Corea will love this album. It's not nearly as far out as Elliot Carter's String Quartets or Crumb's "Ancient Voices of Children." Not at all, as some reviewers might lead you to believe.

The playing is virtuosic, and I am a classical guitarist and can testify with a technically educated ear. The Thomas Humphrey guitars the Assads play ( one a spruce top and one a cedar top) blend beautifully under Nadja's violin.

One is nearly tempted to make symbolic comparisons here, marking the bird of the violin singing over the ocean of melody pouring from the guitars, or some such silly thing.

Why? Because the whole performance is braided with an erotic yet intellectual chain of musical perfection tied to vital, soaring imagination.

Like the Assad Brothers' Piazzolla album, this one is a must-have for fans of contemporary acoustic music, classical guitar or simply luscious string playing. The gypsy melodies themselves are a magical enough suite to warrant buying this disk. June 3, 2002

I Concur with the Disappointed Ones

I too am a fan of Nadja, that is what led me to this, as well as being a classical guitar lover. I've only played this three times, and that will be it.

The music leaves me grasping for something else, anything else on my shelf. Certainly there are great musical talents here. Likely, they enjoy the challenge musically. But for the listener class such as we, we'll put our listening time and 5-star reviews with others.

If this is representative of fusion, count me out. July 3, 2001

Fiery!

I've been a great fan of the Odair Assad's compositions since hearing the "Natsu no Niwa" (Did I get the title right?) suite they released a few years back. This album was not disappointing at all. Odair has a wonderful, lyrical sensitivity and does justice to the various Spanish folk themes, evoking fiery passion and beauty within an intimate setting. A critic once called the Assad Bros. a "four-armed guitar virtuoso," and he was right on the money with that. Ms. Salerno-Sonnenberg's playing is absolutely stunning and is perfectly on par with the Brothers' virtuosic ability. I truly hope that Odair will compose regularly, and not just for the guitar either! October 19, 2000

Very Dissapointed

I'm a music lover, not a critic, but I know what I like! The premise of this album caught my eye, but unfortunately, not my ear. I love traditional Middle Eastern and Indian music and have purchased several crossover albums over the years that have been fairly successful attempts to bridge cultural differences. Unfortunately, this album is not one of them.

These are certainly hightly talentd artists, but their collective interpertations of these "tunes" not only destroy their ethnicity but also their beauty.

I fail to understand the rationalization behind taking traditional tunes and warping them into some post-modern mush. Those diminished/augmented/6ths over dropped 7th clashings grate on my nerves! Sometimes I get the impression that "serious" classical artists are not permitted to play beautiful melodies lest they destroy their reputations. Guess we still have to leave that job up to the traditionalist musicians.

I was hoping that, after several listenings, this album would grow on me. No so. Sorry, the musical statements on this album go way over my head. It's headed for the resale bin. September 25, 2000

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